The collection is divided into three series and eight subseries described as follows. 

Series 1,           ALEXEI REMIZOV PAPERS, 1903 [1922-1948] 1986, 18.50 linear feet:  This series is the most complex and significant series in the papers and consists of those materials that deal with Alexei Remizov's professional and personal life.  Of particular interest are his scrapbooks, since in creating them Remizov explored and adopted a great variety of nonliterary styles.

            The series is divided into six subseries.

            Subseries 1,      Correspondence, 1921-1948, 10.50 linear feet, contains Remizov's incoming and outgoing correspondence with prominent Russian and foreign writers, translators and intellectuals, such as A. Arosev, J. Baltrushaitis, M. Brion, A. Camus, M. Chekhov, I. Erenburg, O. Forsh, B. Pil'niak, I. Shmelev, M. Tsvetaeva, B. Zaitsev and others.  A. Remizov arranged his correspondence according to his own system, and his organization was maintained as far as possible.  Incoming correspondence in scrapbooks created by Remizov is organized chronologically; however, in some cases within a group of letters from the same person the chronology is violated.  Outgoing correspondence is arranged in alphabetical order.  Contained within the correspondence are clippings and drafts of articles written by A. Remizov and his correspondents.   The topics covered in the correspondence range from the Berlin period of Remizov's life to condolences on his wife's death, and from translating and publishing efforts to Remizov's personal friendship.  All correspondents in each scrapbook are indexed. An asterisk indicates that the sender used a pseudonym.

            Subseries 2,      Writings, 1903-1955, 6.5 linear feet, includes Remizov's autograph notes, drafts of the same work in different versions, manuscripts in holograph and typed form, page proofs, galley proofs, printed materials, translations and clippings in various languages.  This subseries presents a perfect example of the writer's creative laboratory.  The subseries is further divided into two subgroups - Holograph and Typed Writings and Printed Writings.  The subseries is arranged alphabetically by type and then by title within each subgroup.  All unidentified writings have been placed at the beginning of the subgroup.

            Subseries 3,      Materials about Advertisements, 1922-1940, 0.8 linear feet, contains drafts of announcements, fliers and lists of lectures, concerts and other events.  The subseries is organized in chronological order.

            Subseries 4,      Scrapbooks on Literary Evenings, 1924-1934, 1.00 linear foot, consists of 10 scrapbooks which reflect Remizov's preparation for his literary evenings.  Each scrapbook was put together by Remizov and represents a variety of his creative expressions including - collages, drawings, letters, notes, and writings.  This subseries is arranged chronologically with unidentified materials at the beginning. 

Subseries 5, Financial and Legal Records, 1918-1948, 0.16 linear feet, includes financial statements, old legal documents, and Remizov's unfulfilled contracts with several publishers.  This subseries is organized chronologically.

Subseries 6, Photographs and Postcards, [1930-1950], 0.24 linear feet, consists of postcards and several photographs of A. Remizov and his friends arranged in chronological order.

Series 2,           SERAFIMA REMIZOVA-DOVGELLO PAPERS, 1908-1943, 6.50 linear feet: This series reflects the personal and professional activities of Remizov's wife.  The materials were put together by A. Remizov after S. Remizova-Dovgello's death.  The series is divided into two subseries.

Subseries 1, Correspondence, 1908-1943, 6.00 linear feet, contains S. Remizova-Dovgello's correspondence with her friends, colleagues and relatives incorporated into scrapbooks. The arrangement is similar to that of Remizov's correspondence series.  As in his series, organization is chronological, although in some cases within a group of letters from the same person the chronology is violated.  The correspondence is lavishly intermingled with postage stamps, pages from a desk calendar and commentaries by A. Remizov.  The correspondence is interesting because it reflects S. Remizova-Dovgello's association with people from all walks of life and all strata of society.  All correspondents in each scrapbook are indexed.  An asterisk indicates that the sender used a pseudonym.

Subseries 2, Professional Materials, 1924-1943, 0.50 linear feet.  The material in this subseries is supporting documentation of S. Remizova-Dovgello's teaching career.  It includes appointment letters, class calendars, promotional materials, and posters of her course announcements at the School of Slavonic Studies in Paris arranged in chronological order.

Series 3,           THIRD PARTY MATERIALS, 1919-1948, 1 linear foot: The series is composed of materials belonging to some of A. Remizov's friends and acquaintances.  The series is arranged into two subseries: holograph and typed writings and printed materials.  It contains handmade books, clippings, correspondence, draft notes, galley-proofs, piano scores and journals in various languages.  Of particular interest is a scrapbook of autographs of prominent French and Russian writers, such as Comnéne, McOrly, Pasternak, Shmelev, Troyat, Vivier and others.  The series is arranged in alphabetical order; unidentified materials are placed at the beginning of the subseries.                

RELATED MATERIAL: The Amherst College Center for Russian Culture has information about A. Remizov and S. Remizova-Dovgello beyond that found in this collection.  Sources include: Anna Saakiants Collection, Vladimir Dixon Papers, Z. Gippius and D. Merezhkovsky Papers, I. Halperine-Kaminsky and His Contemporaries Collection, J. P. Ivask Papers, I. Shkott Papers, Schakovskoy Family Papers, Union of Russian Writers and Journalists Abroad Records.  Contact the Amherst College Center for Russian Culture for further information.